Rosalind Crisp, ≠espèces (and other improvised dances) (17th March, 2013)
Australian choreographer and dancer, Rosalind Crisp, established the Omeo Dance Studio in Sydney, 1996, as a place of residence for her research and site for the development of a community of dance artists in Sydney and currently spends her time between Australia and France.
The improvisation work ≠espèces was presented as part of NottDance, March 2013. This performance is part of Rosalind’s on-going exploration of improvised performance, ‘d a n s e’, and focuses attention on the emergent process of the dancers’ movement, asking them to notice the continually evolving material of their dancing and to co-exist in this field. In this practice she seeks to engage the audience in an immediate and visceral exchange through their bodies and their senses.
(see: http://www.omeodance.com/)[insert image of Roslind crisp]
skript 170303: After watching and performing a live improvisation, #especes, Rosalind Crisp (AUS)
the space between you me us… moving reaching your arms out,, searching (re)searching!
the corner frames you , eyes all cast over me, away from you to him. but i
dwell with you …
your head curved to the side, my neck rotating, twisting to see feel your movement as the arms extend the back curving. breath heavy behind me. ha,,, ho, pheewww. the feet pa pa ba, pa.. him as sound for you. your music . laughter.
in front of me he drops, foot held in hand. an in take of my breathe. i notice in myself the capturing of the picture. hold it vida, the moment pauses in my minds eye. the foot held in hand, leg at 90%. an image to be recalled. replayed. re re replayed. the comfort between them resonates in the room. he and she. the rock and roll comes back like an old friend, ally. yes the rock roll rolling hands.[…].,ratbag. the play the connection resonates in us we feel you’re connected. the solos too much extraneous movement. but in your parting.. in your distance across the room i feel his sound in your dance and your dance in his sound…[…] we don’t know the limits of this work.
by Ros and Vida, 17th March, 2013
skript 140313: While watching an online version of the live performance, #especes, by Rosalind Crisp (AUS)
articulating, articulate bodies. four of them, no five. a black space. the lights go off and come on. come on and go off. articulating space. i feel a familiar rhythm of continuous movement, the torso caves in, ribs shift to one side, a leg lifts, toes splay outward and up. down to the floor, smoothly moving as if seamless, jointless. working in the fluid of the body, the fluid body goes to the floor without bone.[…] arms and limbs not quite…quite their/there. reaching to drop, and as i write i feel the pauses and not quiteness of my own patterns.. my own hestitations pause. and move again. darkening the space the sound of a lift, how does a lift sound. a sounding lift. lifting sound. my heavy body weighted to my chair struggles to hear a sounding lift.[…]we find our way in space with our moving body… i see the space unfolding, retreating and re-appearing. i see you move in and with the spaces, arms, torsos, legs, heads…all jostling with the space, all equally drawing my attention. the jostling, wiggling between each other, between the detail of the fingers, legs over the head, toe coming in to contact…[…] all we have is what is there. and all i have is what is here. i dance. my torso rises and falls. my hands move across the keyboard as if a hand were a full body, complex articulations appearing and disappearing. i dance.
by Jane and Vida, 14th March, 2013
skript 141013: Writing with Ros Crisp after dancing (UK/AUS)[…] I started with what I know, breath, listening to my breath, adding some tone to my breath, and slowness, each beginning of a movement slowed right down so that I could catch the breeze, the slippery dive under one arm and yet there down on my heel was another calling. Gradually my attention got in step with my moving imaging sensing… then along came tone. I love tone, I’m addicted to tone, pick it up, drop it, squeeze it, sound came out, word, queen elizabeth; each audience member gave me a different permission, by the sixth I was over the hill an far away, deep into complex mad changes and shifting bits, all mobilised, voila.
yes the detail, the ‘choreography’ is there underneath or guiding. Its what I trust. body part, direction, tone, speed, interruption, flow, fall, weight, breath. And then the animal , the tricks can or might fly up. I never expect them or start with them. Actually I don’t know where they reside, but I know they might come out to play if I go so multi mutli! with the visceral, the matter (ie my body). the body at the centre, at the start and end….
yes, and saturation is a delicious condition. That’s why I dance, I suppose.
Everything is possible, there is enormous permission once my senses sensations are full bodied. Saturation, it feels a full word, weighty…
…saturation might sound like a global thing , whereas for me it is constantly specific, I mean saturation is all over, all in me, all in the space and between the toes of the writing, but and yet a twitch a shoulder a long arm a line drops , a tiny space shifts, arghhh words are not it, details each moment is different to the next, even thought here is saturation (which anyway is changing) there is a detail that sticks out.
And is it that detail within the deep saturation that you follow? what kind of detail might it be?
That’s what I’m struggling to find the words for . A detail of a surface of my body or a space that open between two bones or a sensation that slips under my chin or a picture of all my extremities at once… millions of details, that I can prolong, respond to , transfer to elsewhere in my body, exaggerate, oppose, leave… all this choreographing going on from the sensation saturated monster. These sensations, anatomical details that reside, call, stock out… developing through compositional details — they feel rich in me as i watch, as i dance with you.[…]… the richness of choreographic thinking/doing sings loudly to me… can you say/feel what moment what detail might lead to a thickening or a diving under??!
It would be something to do with appetite for change. Thickening because before it was thin and I have trained myself to have an appetite for change, for noticing what texture, tone, direction, body part, image, I haven’t used for a while, for the last minute! Contrast, pleasure, surprise, surprise myself by the contradiction of thin and thick of my response to my own absurdity, elizabeth, what’s she doing here?! So this ‘drives’ me to laugh about it in dancing. Choreography as a continual pleasure of with, against, ..blah blah hee hee.
by Ros and Vida, 14th October 2013
Rosalind Crisp with Vida, Reflecting on skript:
..and i am wondering about words and writing too as a way to follow and come to know bodies…. I think when I write, label, find words, change words, what I am doing, how i am sensing and understanding what I do, who i am changes too.
I am sitting looking at words here and thinking what this finding of words, this putting them onto a screen ‘does’? does for you? Well it is a little bit like dancing; I feel like I’ve ‘met’ you again or rather communicated myself to you by telling you what I’m engaged in now. So it feels a bit like having done a dance for you. yes. and i keep thinking about the difference between this and having a conversation… it feels different to me, but i haven’t sorted it out as yet – but yes. closer to having you dance for/with me perhaps. Yes its different to a conversation, because it’s silent. I love this, I can give all my attention to feel what your words are doing to me. This is like watching a dance. And also the slowness of the appearance of the words (speed of typing) allows time to follow, to notice. It’s not filled up with the all the other sensations when being with someone, what they are wearing, where the sunlight is, how old they are… etc. I love this cleanness where you come into my living room. listening in the silence of the words.
there is something intimate too. in this process of writing, of being with you (but not). Yes private, and very personal. [..]… it is like the potential that taking time in a studio offers too perhaps… Yes, the time it needs…
Might you be able to reflect on how the process ‘works’ for you??? I think it’s all about ‘holding’ the sensations; So when I’m writing in response to you, it triggers a sensation, and I try to let the words run. The easiest of this ‘flow’ is when I talk about my dancing, because I feel I am doing it when I talk and the ‘word’ come from the doing. I suppose it’s the same organisation in my brain body system as when I am doing the dance; hence why I spoke about today’s sensation-images, because they are still accessible to my body memory. I like reaching for the words. This process is very exciting, I need to concentrate, like when dancing to hit the right note…
by Ros and Vida, 2nd April, 2014